Please use this identifier to cite or link to this item: https://hdl.handle.net/10356/88077
Title: Symbol and Symptom of Cuban Post-1959 Avant-garde
Authors: Ojeda, Danne
Keywords: DRNTU::Visual arts and music
Cuban Post-1959 Avant-garde
1980s–90s Cuban Art
organic artist
Issue Date: 2003
Publisher: Jan van Eyck Academie
Source: Ojeda, Danne. (2003). Symbol and Symptom of Cuban Post-1959 Avant-garde. In Diagonal: Essay on Contemporary Cuban Art (pp. 9–39), Maastricht, The Netherlands: Jan van Eyck Academie.
Abstract: After reading Peter Bürger’s classic, Theory of the Avant-garde, where, upon analysing the purposes of this anti-artistic trend, he declares it, above all, an historical episode for the archives, one can hardly help looking back on avant-garde movements as, more than retro, démodé. This sensation of instability when dealing with the avant-garde is stressed every time one tries to appraise its allegedly disruptive and anti-aesthetic programme. Instead of undermining Art-as-an-institution, the avant-garde only solidified the foundations on which the former stood. Yet, a most valuable aspect of Bürger’s essay is precisely his historical focus when analysing the events that marked Art’s transition from a state of autonomy to one of “heteronomy”; a process in which the avant-garde played a decisive role. Honouring this historical approach, I intend to comment on some of the traits specific to Cuban avant-garde and its post-1959 saga, for it constitutes the background where some of the keys to the contemporary art movement, known as New Cuban Art, can be found. I hope that, given the sui generis quality of Cuban avant-garde post-1959 — which intends to add different data to the avant-garde historical development — we might eventually wave aside any reservations Bürger may have planted related to the obsolete condition of this phenomenon.
URI: https://hdl.handle.net/10356/88077
http://hdl.handle.net/10220/44921
ISBN: 90–72076–18–4
Rights: © 2003 The author(s). This is the author created version of a work that has been peer reviewed and accepted for publication in Diagonal: Essay on Contemporary Cuban Art, published by Jan van Eyck Academie on behalf of the author(s). It incorporates referee’s comments but changes resulting from the publishing process, such as copyediting, structural formatting, may not be reflected in this document.
Fulltext Permission: open
Fulltext Availability: With Fulltext
Appears in Collections:ADM Books & Book Chapters

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